inary line running
at a right angle across the strings. The whole bow then moves as it
should, and the arm motions unconsciously adjust themselves.

RHYTHM AND COLOR

"Rhythm is the foundation of all music--not rhythm in its metronomic
sense, but in the broader sense of proportion. I lay the greatest stress
on the development of rhythmic sensibility in the student. Rhythm gives
life to every musical phrase." Mr. Letz had a Brahms' quartet open on
his music stand. Playing the following passage, he said:

[Illustration: Musical Notation]

"In order to give this phrase its proper rhythmic value, to express it
clearly, plastically, there must be a very slight separation between the
sixteenths and the eighth-note following them. This--the bow picked up a
trifle from the strings--throws the sixteenths into relief. As I have
already said, tone color is for the main part controlled by the bow. If
I draw the bow above the fingerboard instead of keeping it near the
bridge, I have a decided contrast in color. This color contrast may
always be established: playing near the bridge results in a clear and
sharp tone, playing near the fingerboard in a veiled and velvety one.

SUGGESTIONS IN TEACHING

"I find that, aside from the personal illustration absolutely necessary
when teaching, that an appeal to the pupil's imagination usually bears
fruit. In developing tone-quality, let us say, I tell the pupil his
phrases should have a golden, mellow color, the tonal equivalent of the
hues of the sunrise. I vary my pictures according to the circumstances
and the pupil, in most cases, reacts to them. In fast bowings, for
instance, I make three color distinctions or rather sound distinctions.
There is the 'color of rain,' when a fast bow is pushed gently over the
strings, while not allowed to jump; the 'color of snowflakes' produced
when the hairs of the bow always touch the strings, and the wood dances;
and 'the color of hail' (which seldom occurs in the classics), when in
the real characteristic _spiccato_ the whole bow leaves the string."

THE ART AND THE SCHOOLS

In reply to another question, Mr. Letz added: "Great violin playing is
great violin playing, irrespective of school or nationality. Of course
the Belgians and French have notable elegance, polish, finish in detail.
The French lay stress on sensuous beauty of tone. The German te